butlervyer said: "Did Rebecca Frecknall ever push you in the streets MemorableUsername? The animus has been very pointed and persistent now.
Of course. That's the only possible reason anyone could criticize her work and choices in this production. Just like the only reason anyone could praise her choices (or repost the same articles about all the Black men in Pennsylvania in the 1930s...) is if they're related to her or an investor, right?
An understudy who may never go on for a role, especially when it's Cliff, clearly the focus would be on finding the most able ensemble member who could also play the part if ever called upon, but I don't tend to read the worst of intentions or lack of care in people actions everytime. "
I wouldn't have made the comment if the same things weren't being posted again, calling for the same response. Yes, hiring the best understudy possible makes sense. But if the race of the actor playing the character isn't a factor in casting that best understudy possible, then any justification for why Cliff has to be specifically Black and not just a POC in this production is irrelevant, because he clearly doesn't have to be.
Not too long after winning a Tony for starring in “Hallelujah, Baby!" on Broadway, Leslie Uggams played Saly Bowles in stock on the Music Fair circuit. She was very effective.
I have played both Cliff and Ernst, and there is nothing in the text that suggests Ernst is attracted to Cliff. However, I distinctly remember in the Mendes production Denis O’Hare adding a sexual subtext to lines like “We make a large whoopee,” etc. It made zero sense, but O’Hare is such a great actor that it somehow worked. When was that? 1998? Strange what we remember about plays we see.
Anyway, this is not the first professional production of Cabaret to have Cliff played by a black actor. I know of at least one other where it was done a few years ago in Chicago. If you’re going to have one of the principals played by POC, Cliff can be an interesting choice since he is the American and the stand-in for the audience.
I’m pretty sure there have been black Emcees and Sallys in major regional productions as well, although not often. Ultimately, you really can’t have all white principal casts anymore, so even when it doesn’t make sense historically, you have to find a way to have a diversify it.
Did anyone see the production in Boston at A.R.T. in 2010 when the Emcee was played by Amanda Palmer and Fraulein Schneider was played by a man in drag?
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
Jordan Catalano said: "Matinee canceled today due to “cast illness”."
Must be one of the leads and their understudy isn't rehearsed yet.
A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.
Jordan Catalano said: "Matinee canceled today due to “cast illness”."
Oh no! Hope everything is alright.
The idea is to work and to experiment. Some things will be creatively successful, some things will succeed at the box office, and some things will only - which is the biggest only - teach you things that see the future. And they're probably as valuable as any of your successes. -Harold Prince
Broken feet takes a while to heal :( I hope she'll be ok.
CABARET is a well known show in musical theater so most if not all understudies will know the lines already. I'm just guessing in terms of safety given the unique round configuration of the show it's best to cancel the matinee and use that time to rehearse for the evening show.
Anyone hear anything if the evening show is still scheduled to go ahead?
The idea is to work and to experiment. Some things will be creatively successful, some things will succeed at the box office, and some things will only - which is the biggest only - teach you things that see the future. And they're probably as valuable as any of your successes. -Harold Prince
so some kind of bug has hit the theater. I believe Gayle is out and they have to rehearse Gabi to go on tonight. Plus several swings are going on as well.
A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.
KitKatBoy24 said: "Frenchie and Rosie covers are on. No other callouts"
not good when both Sally u/s are out, probably for this entire week.
A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.
I find it interesting that they've been much more revealing in their Broadway marketing vs. West End. We've seen tons of pictures, clips, a CBS Sunday Morning feature, tons of behind the scenes stuff, etc. Nowadays, West End shows a lot more. But, back when the show started, they were VERY secretive. I was just looking at their Instagrams and from when they announced the show through the end of Eddie and Jessie's run, there were 84 Instagram posts. This production is only a few weeks into performances and they're already at 144 posts.
jkcohen626 said: "I find it interesting that they've been much more revealing in their Broadway marketing vs. West End. We've seen tons of pictures, clips, a CBS Sunday Morning feature, tons of behind the scenes stuff, etc."
I think they realized keeping everything a secret is kind of pointless because we already know what the London production looks like. Although the phone stickers have cut down drastically on social media posts of the interior.
jkcohen626 said: "I find it interesting that they've been much more revealing in their Broadway marketing vs. West End. We've seen tons of pictures, clips, a CBS Sunday Morning feature, tons of behind the scenes stuff, etc. Nowadays, West End shows a lot more. But, back when the show started, they were VERY secretive. I was just looking at their Instagrams and from when they announced the show through the end of Eddie and Jessie's run, there were 84 Instagram posts. This production is only a few weeks into performances and they're already at 144 posts."
Perhaps the budget was lower back in fall 2021? In addition, it was a sold out run during Redmayne/Buckley since Buckley only performed from Nov 2021-Mar 2022. If the show is sold out, then you can afford to be more secretive and not have much marketing.
Also note that the KitKat Club in London can only hold 550 patrons whereas the August Wilson theater in Broadway holds around 1070 people.
Yeah, as Wick3 said, the run for the original cast was sold out before the first preview, except for the seats they'd held back to release later at hiked prices, in a theater half the size of the one in New York.